24451 Résultats
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP178.S1.2002.PR05
Description:
This project series documents the Parque de Vidago in Vidago, Portugal. While the records were held in the office’s archives this project was assigned the number 49/00. The office assigned the dates 2002-2010 to this project. This project consisted of extensive modifications to the spa resort Parque de Vidago Palace Hotel for owner VMPS - Águas & Turismo, S.A, part of Unicer (now Super Bock Group). The Palace Hotel and its surrounding nature park were originally proposed by King Carlos I at the beginning of the 20th century in order to create a luxurious resort around the famous Vidago mineral springs. In 2006, the resort was temporarily closed for the work to begin. For Siza, this primarily consisted of the construction of a new thermal spa, the conversion of rural buildings into vacation homes, and the building of a new clubhouse for the golf course. These three aspects of the project were divided as three subprojects by the office and have been arranged under AP178.S1.2002.PR05.SS1, AP178.S1.2002.PR05.SS2 and AP178.S1.2002.PR05.SS3, respectively. While the spa and clubhouse were both built, the vacation homes were not realized. The resort reopened in 2010. Several smaller buildings were also realized as part of this project including the Fonte Salus (spring), the Fonte de Vidago (spring) and the Portaria (gatehouse). Materials for these three building are arranged in AP178.S1.2002.PR05.SS1. Also included were several buildings that were not realized such as the Academia de golfe and the Edifício da manutenção (arranged in AP178.S1.2002.PR05.SS3), and the Espaço Serralves (arranged in AP178.S1.2002.PR05.SS1). This project was realized in tandem with another similar project by Siza, the Parque de Pedras Salgadas (AP178.S1.2002.PR06), also owned by Unicer. For this reason, the materials for both projects are mixed together. Files in this project series that contain materials for the Pedras Salgadas project have been identified at the file level.
AP178.S1.2002.PR05
Description:
This project series documents the Parque de Vidago in Vidago, Portugal. While the records were held in the office’s archives this project was assigned the number 49/00. The office assigned the dates 2002-2010 to this project. This project consisted of extensive modifications to the spa resort Parque de Vidago Palace Hotel for owner VMPS - Águas & Turismo, S.A, part of Unicer (now Super Bock Group). The Palace Hotel and its surrounding nature park were originally proposed by King Carlos I at the beginning of the 20th century in order to create a luxurious resort around the famous Vidago mineral springs. In 2006, the resort was temporarily closed for the work to begin. For Siza, this primarily consisted of the construction of a new thermal spa, the conversion of rural buildings into vacation homes, and the building of a new clubhouse for the golf course. These three aspects of the project were divided as three subprojects by the office and have been arranged under AP178.S1.2002.PR05.SS1, AP178.S1.2002.PR05.SS2 and AP178.S1.2002.PR05.SS3, respectively. While the spa and clubhouse were both built, the vacation homes were not realized. The resort reopened in 2010. Several smaller buildings were also realized as part of this project including the Fonte Salus (spring), the Fonte de Vidago (spring) and the Portaria (gatehouse). Materials for these three building are arranged in AP178.S1.2002.PR05.SS1. Also included were several buildings that were not realized such as the Academia de golfe and the Edifício da manutenção (arranged in AP178.S1.2002.PR05.SS3), and the Espaço Serralves (arranged in AP178.S1.2002.PR05.SS1). This project was realized in tandem with another similar project by Siza, the Parque de Pedras Salgadas (AP178.S1.2002.PR06), also owned by Unicer. For this reason, the materials for both projects are mixed together. Files in this project series that contain materials for the Pedras Salgadas project have been identified at the file level.
Personnes et institutions:
Date:
2002-2012
2002-2012
Titre:
Parque de Vidago [Vidago Palace], Vidago, Portugal (2002-2010)
Actions:
AP178.S1.2002.PR05
Description:
This project series documents the Parque de Vidago in Vidago, Portugal. While the records were held in the office’s archives this project was assigned the number 49/00. The office assigned the dates 2002-2010 to this project. This project consisted of extensive modifications to the spa resort Parque de Vidago Palace Hotel for owner VMPS - Águas & Turismo, S.A, part of Unicer (now Super Bock Group). The Palace Hotel and its surrounding nature park were originally proposed by King Carlos I at the beginning of the 20th century in order to create a luxurious resort around the famous Vidago mineral springs. In 2006, the resort was temporarily closed for the work to begin. For Siza, this primarily consisted of the construction of a new thermal spa, the conversion of rural buildings into vacation homes, and the building of a new clubhouse for the golf course. These three aspects of the project were divided as three subprojects by the office and have been arranged under AP178.S1.2002.PR05.SS1, AP178.S1.2002.PR05.SS2 and AP178.S1.2002.PR05.SS3, respectively. While the spa and clubhouse were both built, the vacation homes were not realized. The resort reopened in 2010. Several smaller buildings were also realized as part of this project including the Fonte Salus (spring), the Fonte de Vidago (spring) and the Portaria (gatehouse). Materials for these three building are arranged in AP178.S1.2002.PR05.SS1. Also included were several buildings that were not realized such as the Academia de golfe and the Edifício da manutenção (arranged in AP178.S1.2002.PR05.SS3), and the Espaço Serralves (arranged in AP178.S1.2002.PR05.SS1). This project was realized in tandem with another similar project by Siza, the Parque de Pedras Salgadas (AP178.S1.2002.PR06), also owned by Unicer. For this reason, the materials for both projects are mixed together. Files in this project series that contain materials for the Pedras Salgadas project have been identified at the file level.
Parque de Vidago [Vidago Palace], Vidago, Portugal (2002-2010)
Actions:
AP178.S1.2002.PR05
Description:
This project series documents the Parque de Vidago in Vidago, Portugal. While the records were held in the office’s archives this project was assigned the number 49/00. The office assigned the dates 2002-2010 to this project. This project consisted of extensive modifications to the spa resort Parque de Vidago Palace Hotel for owner VMPS - Águas & Turismo, S.A, part of Unicer (now Super Bock Group). The Palace Hotel and its surrounding nature park were originally proposed by King Carlos I at the beginning of the 20th century in order to create a luxurious resort around the famous Vidago mineral springs. In 2006, the resort was temporarily closed for the work to begin. For Siza, this primarily consisted of the construction of a new thermal spa, the conversion of rural buildings into vacation homes, and the building of a new clubhouse for the golf course. These three aspects of the project were divided as three subprojects by the office and have been arranged under AP178.S1.2002.PR05.SS1, AP178.S1.2002.PR05.SS2 and AP178.S1.2002.PR05.SS3, respectively. While the spa and clubhouse were both built, the vacation homes were not realized. The resort reopened in 2010. Several smaller buildings were also realized as part of this project including the Fonte Salus (spring), the Fonte de Vidago (spring) and the Portaria (gatehouse). Materials for these three building are arranged in AP178.S1.2002.PR05.SS1. Also included were several buildings that were not realized such as the Academia de golfe and the Edifício da manutenção (arranged in AP178.S1.2002.PR05.SS3), and the Espaço Serralves (arranged in AP178.S1.2002.PR05.SS1). This project was realized in tandem with another similar project by Siza, the Parque de Pedras Salgadas (AP178.S1.2002.PR06), also owned by Unicer. For this reason, the materials for both projects are mixed together. Files in this project series that contain materials for the Pedras Salgadas project have been identified at the file level.
Niveau de description archivistique:
Project
Project
Date:
2002-2012
2002-2012
Personnes et institutions:
Classification:
dessins
dessins
Numéro de référence:
DR1987:0567
Description:
- This graphite drawing of the contour lines and topographical features of the property held by the Filiorum Corporation on the Palos Verdes estates shows the future site for Wayfarers' Chapel. The graphite drawing is partitioned with a square grid, which was possibly drawn by a member of Lloyd Wright's office, because it is in the same media as the inscription "JESTER CHAPEL", one of the early names used by the architect for the project.
DR1987:0567
Description:
- This graphite drawing of the contour lines and topographical features of the property held by the Filiorum Corporation on the Palos Verdes estates shows the future site for Wayfarers' Chapel. The graphite drawing is partitioned with a square grid, which was possibly drawn by a member of Lloyd Wright's office, because it is in the same media as the inscription "JESTER CHAPEL", one of the early names used by the architect for the project.
Personnes et institutions:
Sujet:
architecture, topographique
architecture, topographique
Date:
May 1937
May 1937
Titre:
Wayfarers' Chapel, Palos Verdes, California: Contour map of Filiorum Corporation property, including chapel site
Actions:
DR1987:0567
Description:
- This graphite drawing of the contour lines and topographical features of the property held by the Filiorum Corporation on the Palos Verdes estates shows the future site for Wayfarers' Chapel. The graphite drawing is partitioned with a square grid, which was possibly drawn by a member of Lloyd Wright's office, because it is in the same media as the inscription "JESTER CHAPEL", one of the early names used by the architect for the project.
Wayfarers' Chapel, Palos Verdes, California: Contour map of Filiorum Corporation property, including chapel site
Actions:
DR1987:0567
Description:
- This graphite drawing of the contour lines and topographical features of the property held by the Filiorum Corporation on the Palos Verdes estates shows the future site for Wayfarers' Chapel. The graphite drawing is partitioned with a square grid, which was possibly drawn by a member of Lloyd Wright's office, because it is in the same media as the inscription "JESTER CHAPEL", one of the early names used by the architect for the project.
Classification:
dessins
dessins
Date:
May 1937
May 1937
Personnes et institutions:
Sujet:
architecture, topographique
architecture, topographique
Classification:
articles
articles
Titre:
Les tours sonores
Les tours sonores
Actions:
Texte de Shannon Mattern
Dossier:
Autres sens, autres espaces
Autres sens, autres espaces
Mot(s)-clé(s):
20th century, 21st century, Carlotta Darò, Chabolovka, communism, communisme, El Lissitzky, Emily Thompson, Geoff Manaugh, Ilia Chashnik, Karin Bijsterveld, Lenin, Lénine, Lissitzky, photographie, photography, radio, Richard Pare, Sabine von Fischer, Sensations urbaines, Sense of the City, Shabolovka, Soviet Union, Susan Buck-Morss, technologie, technology, tour, tower, Union soviétique, Vitebsk, Vladimir Shukhov, XXe siècle, XXIe siècle
20th century, 21st century, Carlotta Darò, Chabolovka, communism, communisme, El Lissitzky, Emily Thompson, Geoff Manaugh, Ilia Chashnik, Karin Bijsterveld, Lenin, Lénine, Lissitzky, photographie, photography, radio, Richard Pare, Sabine von Fischer, Sensations urbaines, Sense of the City, Shabolovka, Soviet Union, Susan Buck-Morss, technologie, technology, tour, tower, Union soviétique, Vitebsk, Vladimir Shukhov, XXe siècle, XXIe siècle
Publié:
23 juillet 2012
23 juillet 2012
Dossier:
Autres sens, autres espaces
Autres sens, autres espaces
Classification:
articles
articles
Titre:
Bruit contre bruit
Bruit contre bruit
Actions:
Conversation entre Geoff Manaugh et Sabine von Fischer
Dossier:
Autres sens, autres espaces
Autres sens, autres espaces
Mot(s)-clé(s):
20th century, acouphène, acoustics, acoustique, ambiance, atmosphere, BLDGBLOG, bruit, construction, flooring, Geoff@CCA, Geoff Manaugh, hauts talons, high heels, histoire, history, isolant phonique, machine, noise, paysage sonore, plancher, Sabine von Fischer, son, sound, soundproofing, soundscape, tinnitus, XXe siècle
20th century, acouphène, acoustics, acoustique, ambiance, atmosphere, BLDGBLOG, bruit, construction, flooring, Geoff@CCA, Geoff Manaugh, hauts talons, high heels, histoire, history, isolant phonique, machine, noise, paysage sonore, plancher, Sabine von Fischer, son, sound, soundproofing, soundscape, tinnitus, XXe siècle
Publié:
13 février 2017
13 février 2017
Dossier:
Autres sens, autres espaces
Autres sens, autres espaces
Classification:
articles
articles
Actions:
Dossier:
Trajets et transferts
Trajets et transferts
Mot(s)-clé(s):
20th century, Arkhitektura SSSR, béton, concrete, Cuba, CUJAE, Fidel Castro, Havane, Hugo Palmarola, hurricane Flora, Janet Abrams, Moscou, Moscow, Nikita Khrouchtchev, ouragan Flora, Pedro Ignacio Alonso, Salvador Allende, Santiago del Cuba, Soviet Union, Union soviétique, URSS, USSR, Viterbo O’Reilly, XXe siècle
20th century, Arkhitektura SSSR, béton, concrete, Cuba, CUJAE, Fidel Castro, Havane, Hugo Palmarola, hurricane Flora, Janet Abrams, Moscou, Moscow, Nikita Khrouchtchev, ouragan Flora, Pedro Ignacio Alonso, Salvador Allende, Santiago del Cuba, Soviet Union, Union soviétique, URSS, USSR, Viterbo O’Reilly, XXe siècle
Publié:
17 juin 2016
17 juin 2016
Classification:
dessins, documents textuels, photographies
Quantité:
5 file(s)
dessins, documents textuels, photographies
Quantité:
5 file(s)
Numéro de référence:
DR1988:0019:001-005
Description:
Part of a miscellaneous group of visual and textual documents collected by Oswald Mathias Ungers, apparently to represent the work of artists/architects in Die gläserne Kette. Primarily theoretical and visionary in content, this group includes three letters, a page from a letter with drawings for a concert hall, and a photograph of a model of the same concert hall. The letters and photograph were accessioned as received in a beige folder.
DR1988:0019:001-005
Description:
Part of a miscellaneous group of visual and textual documents collected by Oswald Mathias Ungers, apparently to represent the work of artists/architects in Die gläserne Kette. Primarily theoretical and visionary in content, this group includes three letters, a page from a letter with drawings for a concert hall, and a photograph of a model of the same concert hall. The letters and photograph were accessioned as received in a beige folder.
Personnes et institutions:
Date:
circa 1919-1920
circa 1919-1920
Titre:
Material from Wassili Luckhardt and Hans Luckhardt mostly for Die gläserne Kette
Actions:
DR1988:0019:001-005
Description:
Part of a miscellaneous group of visual and textual documents collected by Oswald Mathias Ungers, apparently to represent the work of artists/architects in Die gläserne Kette. Primarily theoretical and visionary in content, this group includes three letters, a page from a letter with drawings for a concert hall, and a photograph of a model of the same concert hall. The letters and photograph were accessioned as received in a beige folder.
Material from Wassili Luckhardt and Hans Luckhardt mostly for Die gläserne Kette
Actions:
DR1988:0019:001-005
Description:
Part of a miscellaneous group of visual and textual documents collected by Oswald Mathias Ungers, apparently to represent the work of artists/architects in Die gläserne Kette. Primarily theoretical and visionary in content, this group includes three letters, a page from a letter with drawings for a concert hall, and a photograph of a model of the same concert hall. The letters and photograph were accessioned as received in a beige folder.
Classification:
dessins, documents textuels, photographies
Quantité:
5 file(s)
dessins, documents textuels, photographies
Quantité:
5 file(s)
Date:
circa 1919-1920
circa 1919-1920
Personnes et institutions:
Classification:
événements
événements
Actions:
Description:
Ben Bradley présente comment lautomobile a influencé la manière dont les Canadiens ont fait lexpérience de leur pays cours du XXe siècle. Alors que des millions de personnes sont parties à la rencontre du Canada à travers le voyage automobile, elles ont aussi donné forme aux endroits quelles ont traversés, par leurs habitudes de visite, leurs goûts et leurs mouvements.(...)
Ben Bradley présente comment lautomobile a influencé la manière dont les Canadiens ont fait lexpérience de leur pays cours du XXe siècle. Alors que des millions de personnes sont parties à la rencontre du Canada à travers le voyage automobile, elles ont aussi donné forme aux endroits quelles ont traversés, par leurs habitudes de visite, leurs goûts et leurs mouvements.(...)
Localisation:
Théâtre Paul-Demarais Mot(s)-clé(s):
Canada, Le temps presse, environnement, Bradley, halte-routière, roadside
Théâtre Paul-Demarais Mot(s)-clé(s):
Canada, Le temps presse, environnement, Bradley, halte-routière, roadside
Date:
23 février 2017, 18h
23 février 2017, 18h
Titre:
Faire du Canada une halte-routière
Actions:
Description:
Ben Bradley présente comment lautomobile a influencé la manière dont les Canadiens ont fait lexpérience de leur pays cours du XXe siècle. Alors que des millions de personnes sont parties à la rencontre du Canada à travers le voyage automobile, elles ont aussi donné forme aux endroits quelles ont traversés, par leurs habitudes de visite, leurs goûts et leurs mouvements.(...)
Faire du Canada une halte-routière
Actions:
Description:
Ben Bradley présente comment lautomobile a influencé la manière dont les Canadiens ont fait lexpérience de leur pays cours du XXe siècle. Alors que des millions de personnes sont parties à la rencontre du Canada à travers le voyage automobile, elles ont aussi donné forme aux endroits quelles ont traversés, par leurs habitudes de visite, leurs goûts et leurs mouvements.(...)
Classification:
événements
événements
Date:
23 février 2017
18h
23 février 2017
18h
Localisation:
Théâtre Paul-Demarais Mot(s)-clé(s):
Canada, Le temps presse, environnement, Bradley, halte-routière, roadside
Théâtre Paul-Demarais Mot(s)-clé(s):
Canada, Le temps presse, environnement, Bradley, halte-routière, roadside
Classification:
documents textuels
documents textuels
Numéro de référence:
AP075.S3.SS1.019
Description:
Contains typescript text for the following lectures by Cornelia Hahn Oberlander: - The Magic of Sand - Indoors and Out - Planning for Play Everywhere. Play in Hospitals, 1984. - Landscape Architecture in the 20th Century: The Relationship of Architecture and - Landscape Architecture. Museum of Modern Art October 21-22. - Lecture given at the Vancouver Art Gallery, 1954. - The TVA as creator of a Regional Landscape. - Greening the City. University of Texas. November 18, 1994. - The Garden in My Life and My Work. Western Washington University. June 14, 1988. - Nature in the City: or, the City in Nature. Architecture and Urban Studies Alliance, Calgary, Alberta. February 11, 1987. - Address to the Graduating Classes in Agrcultural Sciences, Applied Science, Architecture, Landscape Architecture, Community and Regional Planning, Forestry, - Interdisciplinary Studies. The University of British Columbia. May 29, 1991. - The Garden as Art. Van Dusen Botanical Garden. October 2, 1990. - Landscapes that Shaped Vancouver. The Society of Architectural Historians. October 13, 2000. - Breaking Ground. Smith College. March 26, 2001. - Green Spaces: Inspiring Landscapes by Women - Landscape Architecture in the Next Millenium. Hotel Vancouver. March 29, 1999. - Landscape Architecture: Bridge Between Buliding and Nature. Toronto, ON. November 26, 1999. - Limiting Footprints: An Ecological Approach to Landscape Architecture. Harvard University. March 27, 2001. - Leadership in Landscape: Sustainable Development Directions for the Future. Smith College. March 18, 1998. - Linking Places to Design: An Ecological Approach. Alaska Design Forum Lecture. April 1999. - Limiting Footprints: An Ecological Approach to Landscape Architecture. February 22, 2001. - The Meanings of Gardens… Transformed. University of Virginia. March 23, 2001. - Landscape Architecture North of the Arctic Circle. University of Massachusetts, Amherst. March 26, 2007. - Landscape Architecture Aesthetics and Sustainability. Palm Springs, CA. March 15, 2008. - Limiting Footprints: Low Impact Technologies. University of Arkansas. February 20, 2005. - Conservation of 20th Century Canadian Landscapes. ASLA CSLA Montreal. September 22, 2001. - Government Complex of the Province of British Columbia, Vancouver, BC: Changes of a City. October 11, 1979. - Heritage of Green Spaces: Robson Square. Vancouver Heritage Foundation. April 21, 2010. - Where Architecture Meets the Trees. Smith College. February 29, 1992. - Green Roofs and Sustainable Development: Ideas into Action. McGill University. October 21, 2005.
AP075.S3.SS1.019
Description:
Contains typescript text for the following lectures by Cornelia Hahn Oberlander: - The Magic of Sand - Indoors and Out - Planning for Play Everywhere. Play in Hospitals, 1984. - Landscape Architecture in the 20th Century: The Relationship of Architecture and - Landscape Architecture. Museum of Modern Art October 21-22. - Lecture given at the Vancouver Art Gallery, 1954. - The TVA as creator of a Regional Landscape. - Greening the City. University of Texas. November 18, 1994. - The Garden in My Life and My Work. Western Washington University. June 14, 1988. - Nature in the City: or, the City in Nature. Architecture and Urban Studies Alliance, Calgary, Alberta. February 11, 1987. - Address to the Graduating Classes in Agrcultural Sciences, Applied Science, Architecture, Landscape Architecture, Community and Regional Planning, Forestry, - Interdisciplinary Studies. The University of British Columbia. May 29, 1991. - The Garden as Art. Van Dusen Botanical Garden. October 2, 1990. - Landscapes that Shaped Vancouver. The Society of Architectural Historians. October 13, 2000. - Breaking Ground. Smith College. March 26, 2001. - Green Spaces: Inspiring Landscapes by Women - Landscape Architecture in the Next Millenium. Hotel Vancouver. March 29, 1999. - Landscape Architecture: Bridge Between Buliding and Nature. Toronto, ON. November 26, 1999. - Limiting Footprints: An Ecological Approach to Landscape Architecture. Harvard University. March 27, 2001. - Leadership in Landscape: Sustainable Development Directions for the Future. Smith College. March 18, 1998. - Linking Places to Design: An Ecological Approach. Alaska Design Forum Lecture. April 1999. - Limiting Footprints: An Ecological Approach to Landscape Architecture. February 22, 2001. - The Meanings of Gardens… Transformed. University of Virginia. March 23, 2001. - Landscape Architecture North of the Arctic Circle. University of Massachusetts, Amherst. March 26, 2007. - Landscape Architecture Aesthetics and Sustainability. Palm Springs, CA. March 15, 2008. - Limiting Footprints: Low Impact Technologies. University of Arkansas. February 20, 2005. - Conservation of 20th Century Canadian Landscapes. ASLA CSLA Montreal. September 22, 2001. - Government Complex of the Province of British Columbia, Vancouver, BC: Changes of a City. October 11, 1979. - Heritage of Green Spaces: Robson Square. Vancouver Heritage Foundation. April 21, 2010. - Where Architecture Meets the Trees. Smith College. February 29, 1992. - Green Roofs and Sustainable Development: Ideas into Action. McGill University. October 21, 2005.
Personnes et institutions:
Date:
1954-2010
1954-2010
Titre:
Texts of Cornelia Hahn Oberlander for various lectures
Actions:
AP075.S3.SS1.019
Description:
Contains typescript text for the following lectures by Cornelia Hahn Oberlander: - The Magic of Sand - Indoors and Out - Planning for Play Everywhere. Play in Hospitals, 1984. - Landscape Architecture in the 20th Century: The Relationship of Architecture and - Landscape Architecture. Museum of Modern Art October 21-22. - Lecture given at the Vancouver Art Gallery, 1954. - The TVA as creator of a Regional Landscape. - Greening the City. University of Texas. November 18, 1994. - The Garden in My Life and My Work. Western Washington University. June 14, 1988. - Nature in the City: or, the City in Nature. Architecture and Urban Studies Alliance, Calgary, Alberta. February 11, 1987. - Address to the Graduating Classes in Agrcultural Sciences, Applied Science, Architecture, Landscape Architecture, Community and Regional Planning, Forestry, - Interdisciplinary Studies. The University of British Columbia. May 29, 1991. - The Garden as Art. Van Dusen Botanical Garden. October 2, 1990. - Landscapes that Shaped Vancouver. The Society of Architectural Historians. October 13, 2000. - Breaking Ground. Smith College. March 26, 2001. - Green Spaces: Inspiring Landscapes by Women - Landscape Architecture in the Next Millenium. Hotel Vancouver. March 29, 1999. - Landscape Architecture: Bridge Between Buliding and Nature. Toronto, ON. November 26, 1999. - Limiting Footprints: An Ecological Approach to Landscape Architecture. Harvard University. March 27, 2001. - Leadership in Landscape: Sustainable Development Directions for the Future. Smith College. March 18, 1998. - Linking Places to Design: An Ecological Approach. Alaska Design Forum Lecture. April 1999. - Limiting Footprints: An Ecological Approach to Landscape Architecture. February 22, 2001. - The Meanings of Gardens… Transformed. University of Virginia. March 23, 2001. - Landscape Architecture North of the Arctic Circle. University of Massachusetts, Amherst. March 26, 2007. - Landscape Architecture Aesthetics and Sustainability. Palm Springs, CA. March 15, 2008. - Limiting Footprints: Low Impact Technologies. University of Arkansas. February 20, 2005. - Conservation of 20th Century Canadian Landscapes. ASLA CSLA Montreal. September 22, 2001. - Government Complex of the Province of British Columbia, Vancouver, BC: Changes of a City. October 11, 1979. - Heritage of Green Spaces: Robson Square. Vancouver Heritage Foundation. April 21, 2010. - Where Architecture Meets the Trees. Smith College. February 29, 1992. - Green Roofs and Sustainable Development: Ideas into Action. McGill University. October 21, 2005.
Texts of Cornelia Hahn Oberlander for various lectures
Actions:
AP075.S3.SS1.019
Description:
Contains typescript text for the following lectures by Cornelia Hahn Oberlander: - The Magic of Sand - Indoors and Out - Planning for Play Everywhere. Play in Hospitals, 1984. - Landscape Architecture in the 20th Century: The Relationship of Architecture and - Landscape Architecture. Museum of Modern Art October 21-22. - Lecture given at the Vancouver Art Gallery, 1954. - The TVA as creator of a Regional Landscape. - Greening the City. University of Texas. November 18, 1994. - The Garden in My Life and My Work. Western Washington University. June 14, 1988. - Nature in the City: or, the City in Nature. Architecture and Urban Studies Alliance, Calgary, Alberta. February 11, 1987. - Address to the Graduating Classes in Agrcultural Sciences, Applied Science, Architecture, Landscape Architecture, Community and Regional Planning, Forestry, - Interdisciplinary Studies. The University of British Columbia. May 29, 1991. - The Garden as Art. Van Dusen Botanical Garden. October 2, 1990. - Landscapes that Shaped Vancouver. The Society of Architectural Historians. October 13, 2000. - Breaking Ground. Smith College. March 26, 2001. - Green Spaces: Inspiring Landscapes by Women - Landscape Architecture in the Next Millenium. Hotel Vancouver. March 29, 1999. - Landscape Architecture: Bridge Between Buliding and Nature. Toronto, ON. November 26, 1999. - Limiting Footprints: An Ecological Approach to Landscape Architecture. Harvard University. March 27, 2001. - Leadership in Landscape: Sustainable Development Directions for the Future. Smith College. March 18, 1998. - Linking Places to Design: An Ecological Approach. Alaska Design Forum Lecture. April 1999. - Limiting Footprints: An Ecological Approach to Landscape Architecture. February 22, 2001. - The Meanings of Gardens… Transformed. University of Virginia. March 23, 2001. - Landscape Architecture North of the Arctic Circle. University of Massachusetts, Amherst. March 26, 2007. - Landscape Architecture Aesthetics and Sustainability. Palm Springs, CA. March 15, 2008. - Limiting Footprints: Low Impact Technologies. University of Arkansas. February 20, 2005. - Conservation of 20th Century Canadian Landscapes. ASLA CSLA Montreal. September 22, 2001. - Government Complex of the Province of British Columbia, Vancouver, BC: Changes of a City. October 11, 1979. - Heritage of Green Spaces: Robson Square. Vancouver Heritage Foundation. April 21, 2010. - Where Architecture Meets the Trees. Smith College. February 29, 1992. - Green Roofs and Sustainable Development: Ideas into Action. McGill University. October 21, 2005.
Classification:
documents textuels
documents textuels
Date:
1954-2010
1954-2010
Personnes et institutions:
Niveau de description archivistique:
Sous-série
Sous-série
Numéro de référence:
CI001.S2.D5
Description:
Charles Rohault de Fleury was architect for the Muséum national d'histoire naturelle from 1833 to 1862. His work for the Muséum is represented in the CCA collection by a diverse group of prints and drawings. In addition to documenting his built and unbuilt projects, the inclusion of prints and drawings of museum and zoo buildings by other architects record, if only partially, the resources available to Charles in designing his buildings. This reference material provides insight into the influences on Charles' work as well as the nature of the design process itself. His built works, with the exception of the 1854 addition to the greenhouses, are illustrated in a book of prints with a brief accompanying text - "Muséum d'histoire naturelle: serres chaudes, galeries de minéralogie, etc. etc." (published 1837) (DR1974:0002:004:001; a second copy is held by the CCA library) (1). While prints are included for the Galerie de minéralogie et de géologie, the monkey house and the reservoirs, the majority of the prints are of the greenhouses (serres chaudes) begun 1833 (2). Known for their technological innovations in iron construction, these greenhouses utilized the first multi-storey load-bearing cast-iron façades for the central pavilions as well as space frame roof structures and prefabricated parts. This structural system is well documented in the prints in the CCA collection. The design was apparently inspired by the English greenhouses - a plate of which are included in the book - that Charles saw on a tour of England. The use of prestressed beams and curved roofs in the lateral wings attest to this influence. Charles' greenhouses, in turn, influenced the design of other greenhouses in Europe especially those at the Jardins Botanique in Liège and Ghent, Belgium (3). Although Joseph Paxton saw the greenhouses in 1833, it is unclear if they had an impact on the design of the Crystal Palace constructed 1850-1851 (4). The innovations of Charles' greenhouses continued to be acknowledged into the 20th century. Giedion in "Space, Time and Architecture", while erroneously attributing them to Rouhault (5)(6), refers to the greenhouses as "the prototype of all large iron-framed conservatories" (7). In addition to the greenhouses for the Muséum, the CCA collection includes three proposals (dated 1841) for a private greenhouse designed by Charles Rohault de Fleury (DR1974:0002:002:008 - DR1974:0002:002:013). The designs utilize the same curved roofs as the wings of the greenhouses at the Muséum combined with classically detailed stonework. An different aspect of Charles' work for the Muséum national d'histoire naturelle is represented in the album of unexecuted proposals -the only design drawings for the Muséum in the collection - for a Galerie de zoologie (DR1974:0002:024:001-079). Building on the typology of his earlier classical Galerie de minéralogie et de géologie (constructed 1833 -1841), the proposals, which date from between 1838 and 1862, illustrate a gradual enrichment of Charles' classical architectural vocabulary (8). They vary in their spatial configurations and façade treatments ranging from austere colonnaded designs with little ornament to more elaborate ones with richly encrusted facades, complex rooflines and more dramatic interior spaces characteristic of the Second Empire. The majority of the proposals consist of preliminary drawings illustrating the essential formal, spatial and ornamental aspects of the building. One proposal, dated January 1846, is substantially more developed than the others; in addition to general plans, sections and elevations, more detailed drawings are included for the layout of spaces, the elaboration of the facades, the configuration of the structure and even the designs for the specimen display cases. It is also worth noting that this album includes several plans outlining Rohault de Fleury's ideas for the overall development of the Muséum national d'histoire naturelle. In 1846, an album of prints of the Museo di fiscia e storia naturelle in Florence (DR1974:0002:005:001-018) was presented to Charles by the Grand Duke of Tuscany in response to his request for tracings of that building. These prints were probably used as reference material for the design of the new Galerie de zoologie described above. The portfolio of record drawings (ca. 1862) of the zoos in Antwerp, Brussels, Marseille and Amsterdam (DR1974:0002:018:001-027) is probably a dummy for a publication on zoological gardens as well as background documentation for the renovation and expansion of the zoo at the Muséum national d'histoire naturelle in Paris. Both drawings of the facilities for the animals and visitors and general plans of the zoological gardens are included. The Paris zoo project was apparently never undertaken. (1) These prints were reused in the "Oeuvre de C. Rohault de Fleury, architecte" (published 1884) (DR1974:0002:029:001-044). (2) Rohault de Fleury's greenhouses were destroyed in the Prussian bombardments of 1870. The greenhouses, which now stand in their place, are similar in layout and appearance to the original design, but their structural system is different. (3) John Hix, 'The Glass House' (Cambridge, Mass.: The MIT Press, 1981), p. 115. (4) Ibid., p. 115. (5) This error has been repeated by other authors including Henry-Russell Hitchcock, 'Architecture: Nineteenth and Twentieth Centuries' (Baltimore, Maryland: Penguin Books, 1968), p. 120. (6) Leonardo Benevolo, 'History of Modern Architecture' Volume 1: The tradition of modern architecture (Cambridge, Mass.: The M.I.T. Press, 1971), p. 22. (7) Sigfried Giedion, 'Space, Time and Architecture; the growth of a new tradition' (Cambridge: Harvard University Press, 1941), p. 181. (8) Barry Bergdoll, "Charles Rohault de Fleury: Part two: Muséum d'Histoire Naturelle and Studies on analogous Constructions in Europe", 'CCA Research Report", n.d., p. 1.
CI001.S2.D5
Description:
Charles Rohault de Fleury was architect for the Muséum national d'histoire naturelle from 1833 to 1862. His work for the Muséum is represented in the CCA collection by a diverse group of prints and drawings. In addition to documenting his built and unbuilt projects, the inclusion of prints and drawings of museum and zoo buildings by other architects record, if only partially, the resources available to Charles in designing his buildings. This reference material provides insight into the influences on Charles' work as well as the nature of the design process itself. His built works, with the exception of the 1854 addition to the greenhouses, are illustrated in a book of prints with a brief accompanying text - "Muséum d'histoire naturelle: serres chaudes, galeries de minéralogie, etc. etc." (published 1837) (DR1974:0002:004:001; a second copy is held by the CCA library) (1). While prints are included for the Galerie de minéralogie et de géologie, the monkey house and the reservoirs, the majority of the prints are of the greenhouses (serres chaudes) begun 1833 (2). Known for their technological innovations in iron construction, these greenhouses utilized the first multi-storey load-bearing cast-iron façades for the central pavilions as well as space frame roof structures and prefabricated parts. This structural system is well documented in the prints in the CCA collection. The design was apparently inspired by the English greenhouses - a plate of which are included in the book - that Charles saw on a tour of England. The use of prestressed beams and curved roofs in the lateral wings attest to this influence. Charles' greenhouses, in turn, influenced the design of other greenhouses in Europe especially those at the Jardins Botanique in Liège and Ghent, Belgium (3). Although Joseph Paxton saw the greenhouses in 1833, it is unclear if they had an impact on the design of the Crystal Palace constructed 1850-1851 (4). The innovations of Charles' greenhouses continued to be acknowledged into the 20th century. Giedion in "Space, Time and Architecture", while erroneously attributing them to Rouhault (5)(6), refers to the greenhouses as "the prototype of all large iron-framed conservatories" (7). In addition to the greenhouses for the Muséum, the CCA collection includes three proposals (dated 1841) for a private greenhouse designed by Charles Rohault de Fleury (DR1974:0002:002:008 - DR1974:0002:002:013). The designs utilize the same curved roofs as the wings of the greenhouses at the Muséum combined with classically detailed stonework. An different aspect of Charles' work for the Muséum national d'histoire naturelle is represented in the album of unexecuted proposals -the only design drawings for the Muséum in the collection - for a Galerie de zoologie (DR1974:0002:024:001-079). Building on the typology of his earlier classical Galerie de minéralogie et de géologie (constructed 1833 -1841), the proposals, which date from between 1838 and 1862, illustrate a gradual enrichment of Charles' classical architectural vocabulary (8). They vary in their spatial configurations and façade treatments ranging from austere colonnaded designs with little ornament to more elaborate ones with richly encrusted facades, complex rooflines and more dramatic interior spaces characteristic of the Second Empire. The majority of the proposals consist of preliminary drawings illustrating the essential formal, spatial and ornamental aspects of the building. One proposal, dated January 1846, is substantially more developed than the others; in addition to general plans, sections and elevations, more detailed drawings are included for the layout of spaces, the elaboration of the facades, the configuration of the structure and even the designs for the specimen display cases. It is also worth noting that this album includes several plans outlining Rohault de Fleury's ideas for the overall development of the Muséum national d'histoire naturelle. In 1846, an album of prints of the Museo di fiscia e storia naturelle in Florence (DR1974:0002:005:001-018) was presented to Charles by the Grand Duke of Tuscany in response to his request for tracings of that building. These prints were probably used as reference material for the design of the new Galerie de zoologie described above. The portfolio of record drawings (ca. 1862) of the zoos in Antwerp, Brussels, Marseille and Amsterdam (DR1974:0002:018:001-027) is probably a dummy for a publication on zoological gardens as well as background documentation for the renovation and expansion of the zoo at the Muséum national d'histoire naturelle in Paris. Both drawings of the facilities for the animals and visitors and general plans of the zoological gardens are included. The Paris zoo project was apparently never undertaken. (1) These prints were reused in the "Oeuvre de C. Rohault de Fleury, architecte" (published 1884) (DR1974:0002:029:001-044). (2) Rohault de Fleury's greenhouses were destroyed in the Prussian bombardments of 1870. The greenhouses, which now stand in their place, are similar in layout and appearance to the original design, but their structural system is different. (3) John Hix, 'The Glass House' (Cambridge, Mass.: The MIT Press, 1981), p. 115. (4) Ibid., p. 115. (5) This error has been repeated by other authors including Henry-Russell Hitchcock, 'Architecture: Nineteenth and Twentieth Centuries' (Baltimore, Maryland: Penguin Books, 1968), p. 120. (6) Leonardo Benevolo, 'History of Modern Architecture' Volume 1: The tradition of modern architecture (Cambridge, Mass.: The M.I.T. Press, 1971), p. 22. (7) Sigfried Giedion, 'Space, Time and Architecture; the growth of a new tradition' (Cambridge: Harvard University Press, 1941), p. 181. (8) Barry Bergdoll, "Charles Rohault de Fleury: Part two: Muséum d'Histoire Naturelle and Studies on analogous Constructions in Europe", 'CCA Research Report", n.d., p. 1.
Personnes et institutions:
Date:
[1837-ca. 1862]
[1837-ca. 1862]
Titre:
Muséum nationale d'histoire naturelle
CI001.S2.D5
Description:
Charles Rohault de Fleury was architect for the Muséum national d'histoire naturelle from 1833 to 1862. His work for the Muséum is represented in the CCA collection by a diverse group of prints and drawings. In addition to documenting his built and unbuilt projects, the inclusion of prints and drawings of museum and zoo buildings by other architects record, if only partially, the resources available to Charles in designing his buildings. This reference material provides insight into the influences on Charles' work as well as the nature of the design process itself. His built works, with the exception of the 1854 addition to the greenhouses, are illustrated in a book of prints with a brief accompanying text - "Muséum d'histoire naturelle: serres chaudes, galeries de minéralogie, etc. etc." (published 1837) (DR1974:0002:004:001; a second copy is held by the CCA library) (1). While prints are included for the Galerie de minéralogie et de géologie, the monkey house and the reservoirs, the majority of the prints are of the greenhouses (serres chaudes) begun 1833 (2). Known for their technological innovations in iron construction, these greenhouses utilized the first multi-storey load-bearing cast-iron façades for the central pavilions as well as space frame roof structures and prefabricated parts. This structural system is well documented in the prints in the CCA collection. The design was apparently inspired by the English greenhouses - a plate of which are included in the book - that Charles saw on a tour of England. The use of prestressed beams and curved roofs in the lateral wings attest to this influence. Charles' greenhouses, in turn, influenced the design of other greenhouses in Europe especially those at the Jardins Botanique in Liège and Ghent, Belgium (3). Although Joseph Paxton saw the greenhouses in 1833, it is unclear if they had an impact on the design of the Crystal Palace constructed 1850-1851 (4). The innovations of Charles' greenhouses continued to be acknowledged into the 20th century. Giedion in "Space, Time and Architecture", while erroneously attributing them to Rouhault (5)(6), refers to the greenhouses as "the prototype of all large iron-framed conservatories" (7). In addition to the greenhouses for the Muséum, the CCA collection includes three proposals (dated 1841) for a private greenhouse designed by Charles Rohault de Fleury (DR1974:0002:002:008 - DR1974:0002:002:013). The designs utilize the same curved roofs as the wings of the greenhouses at the Muséum combined with classically detailed stonework. An different aspect of Charles' work for the Muséum national d'histoire naturelle is represented in the album of unexecuted proposals -the only design drawings for the Muséum in the collection - for a Galerie de zoologie (DR1974:0002:024:001-079). Building on the typology of his earlier classical Galerie de minéralogie et de géologie (constructed 1833 -1841), the proposals, which date from between 1838 and 1862, illustrate a gradual enrichment of Charles' classical architectural vocabulary (8). They vary in their spatial configurations and façade treatments ranging from austere colonnaded designs with little ornament to more elaborate ones with richly encrusted facades, complex rooflines and more dramatic interior spaces characteristic of the Second Empire. The majority of the proposals consist of preliminary drawings illustrating the essential formal, spatial and ornamental aspects of the building. One proposal, dated January 1846, is substantially more developed than the others; in addition to general plans, sections and elevations, more detailed drawings are included for the layout of spaces, the elaboration of the facades, the configuration of the structure and even the designs for the specimen display cases. It is also worth noting that this album includes several plans outlining Rohault de Fleury's ideas for the overall development of the Muséum national d'histoire naturelle. In 1846, an album of prints of the Museo di fiscia e storia naturelle in Florence (DR1974:0002:005:001-018) was presented to Charles by the Grand Duke of Tuscany in response to his request for tracings of that building. These prints were probably used as reference material for the design of the new Galerie de zoologie described above. The portfolio of record drawings (ca. 1862) of the zoos in Antwerp, Brussels, Marseille and Amsterdam (DR1974:0002:018:001-027) is probably a dummy for a publication on zoological gardens as well as background documentation for the renovation and expansion of the zoo at the Muséum national d'histoire naturelle in Paris. Both drawings of the facilities for the animals and visitors and general plans of the zoological gardens are included. The Paris zoo project was apparently never undertaken. (1) These prints were reused in the "Oeuvre de C. Rohault de Fleury, architecte" (published 1884) (DR1974:0002:029:001-044). (2) Rohault de Fleury's greenhouses were destroyed in the Prussian bombardments of 1870. The greenhouses, which now stand in their place, are similar in layout and appearance to the original design, but their structural system is different. (3) John Hix, 'The Glass House' (Cambridge, Mass.: The MIT Press, 1981), p. 115. (4) Ibid., p. 115. (5) This error has been repeated by other authors including Henry-Russell Hitchcock, 'Architecture: Nineteenth and Twentieth Centuries' (Baltimore, Maryland: Penguin Books, 1968), p. 120. (6) Leonardo Benevolo, 'History of Modern Architecture' Volume 1: The tradition of modern architecture (Cambridge, Mass.: The M.I.T. Press, 1971), p. 22. (7) Sigfried Giedion, 'Space, Time and Architecture; the growth of a new tradition' (Cambridge: Harvard University Press, 1941), p. 181. (8) Barry Bergdoll, "Charles Rohault de Fleury: Part two: Muséum d'Histoire Naturelle and Studies on analogous Constructions in Europe", 'CCA Research Report", n.d., p. 1.
Muséum nationale d'histoire naturelle
CI001.S2.D5
Description:
Charles Rohault de Fleury was architect for the Muséum national d'histoire naturelle from 1833 to 1862. His work for the Muséum is represented in the CCA collection by a diverse group of prints and drawings. In addition to documenting his built and unbuilt projects, the inclusion of prints and drawings of museum and zoo buildings by other architects record, if only partially, the resources available to Charles in designing his buildings. This reference material provides insight into the influences on Charles' work as well as the nature of the design process itself. His built works, with the exception of the 1854 addition to the greenhouses, are illustrated in a book of prints with a brief accompanying text - "Muséum d'histoire naturelle: serres chaudes, galeries de minéralogie, etc. etc." (published 1837) (DR1974:0002:004:001; a second copy is held by the CCA library) (1). While prints are included for the Galerie de minéralogie et de géologie, the monkey house and the reservoirs, the majority of the prints are of the greenhouses (serres chaudes) begun 1833 (2). Known for their technological innovations in iron construction, these greenhouses utilized the first multi-storey load-bearing cast-iron façades for the central pavilions as well as space frame roof structures and prefabricated parts. This structural system is well documented in the prints in the CCA collection. The design was apparently inspired by the English greenhouses - a plate of which are included in the book - that Charles saw on a tour of England. The use of prestressed beams and curved roofs in the lateral wings attest to this influence. Charles' greenhouses, in turn, influenced the design of other greenhouses in Europe especially those at the Jardins Botanique in Liège and Ghent, Belgium (3). Although Joseph Paxton saw the greenhouses in 1833, it is unclear if they had an impact on the design of the Crystal Palace constructed 1850-1851 (4). The innovations of Charles' greenhouses continued to be acknowledged into the 20th century. Giedion in "Space, Time and Architecture", while erroneously attributing them to Rouhault (5)(6), refers to the greenhouses as "the prototype of all large iron-framed conservatories" (7). In addition to the greenhouses for the Muséum, the CCA collection includes three proposals (dated 1841) for a private greenhouse designed by Charles Rohault de Fleury (DR1974:0002:002:008 - DR1974:0002:002:013). The designs utilize the same curved roofs as the wings of the greenhouses at the Muséum combined with classically detailed stonework. An different aspect of Charles' work for the Muséum national d'histoire naturelle is represented in the album of unexecuted proposals -the only design drawings for the Muséum in the collection - for a Galerie de zoologie (DR1974:0002:024:001-079). Building on the typology of his earlier classical Galerie de minéralogie et de géologie (constructed 1833 -1841), the proposals, which date from between 1838 and 1862, illustrate a gradual enrichment of Charles' classical architectural vocabulary (8). They vary in their spatial configurations and façade treatments ranging from austere colonnaded designs with little ornament to more elaborate ones with richly encrusted facades, complex rooflines and more dramatic interior spaces characteristic of the Second Empire. The majority of the proposals consist of preliminary drawings illustrating the essential formal, spatial and ornamental aspects of the building. One proposal, dated January 1846, is substantially more developed than the others; in addition to general plans, sections and elevations, more detailed drawings are included for the layout of spaces, the elaboration of the facades, the configuration of the structure and even the designs for the specimen display cases. It is also worth noting that this album includes several plans outlining Rohault de Fleury's ideas for the overall development of the Muséum national d'histoire naturelle. In 1846, an album of prints of the Museo di fiscia e storia naturelle in Florence (DR1974:0002:005:001-018) was presented to Charles by the Grand Duke of Tuscany in response to his request for tracings of that building. These prints were probably used as reference material for the design of the new Galerie de zoologie described above. The portfolio of record drawings (ca. 1862) of the zoos in Antwerp, Brussels, Marseille and Amsterdam (DR1974:0002:018:001-027) is probably a dummy for a publication on zoological gardens as well as background documentation for the renovation and expansion of the zoo at the Muséum national d'histoire naturelle in Paris. Both drawings of the facilities for the animals and visitors and general plans of the zoological gardens are included. The Paris zoo project was apparently never undertaken. (1) These prints were reused in the "Oeuvre de C. Rohault de Fleury, architecte" (published 1884) (DR1974:0002:029:001-044). (2) Rohault de Fleury's greenhouses were destroyed in the Prussian bombardments of 1870. The greenhouses, which now stand in their place, are similar in layout and appearance to the original design, but their structural system is different. (3) John Hix, 'The Glass House' (Cambridge, Mass.: The MIT Press, 1981), p. 115. (4) Ibid., p. 115. (5) This error has been repeated by other authors including Henry-Russell Hitchcock, 'Architecture: Nineteenth and Twentieth Centuries' (Baltimore, Maryland: Penguin Books, 1968), p. 120. (6) Leonardo Benevolo, 'History of Modern Architecture' Volume 1: The tradition of modern architecture (Cambridge, Mass.: The M.I.T. Press, 1971), p. 22. (7) Sigfried Giedion, 'Space, Time and Architecture; the growth of a new tradition' (Cambridge: Harvard University Press, 1941), p. 181. (8) Barry Bergdoll, "Charles Rohault de Fleury: Part two: Muséum d'Histoire Naturelle and Studies on analogous Constructions in Europe", 'CCA Research Report", n.d., p. 1.
Niveau de description archivistique:
File 5
File 5
Date:
[1837-ca. 1862]
[1837-ca. 1862]
Personnes et institutions:
Classification:
articles
articles
Dossier:
C’était le futur
C’était le futur
